KANIKA-MOHAR
CHRONOLOGY OF DAYS: HER LIFE K
GURUDEV AND KANIKA A
KANIKA THE SINGER N
THOUGHTS ON SONGS OF TAGORE I
REMINISCENCES K
HER WORDS A
WORDS OF REVERED ONES
A LETTER
A COUPLE OF VERSES
SONGS
PICTURE GALLERY
ABOUT MITALI
GURUDEV had a fond habit of giving names to little ones. One of the best name given by him was KANIKA. Satya Charan Mukhopadhyay and Anila Devi,s daughter was called Anima. Tagore rechristened her as ‘Kanika’. This became her official name in the registers. On the vast horizon of music this name has become immortal like the particles of light.
Kanika was born on 12th October 1924 in the village of Sonamukhi in Bankura district of Bengal. From childhood she was an ashramite. She learned to sing like the birds of the sky. Little Kanika had discovered the sweetness of singing on a stormy evening of summer. In her Reminiscences she writes:
“He noticed me on that rainy evening. He called me close and asked,
‘Can you sing? I shook my head and answered ‘yes’. He asked me to sing for him and I started singing at once. I was glad he had asked me to sing. I was never shy because Santiniketan was my own place. Its soil was where I sang freely. So I had sung for Gurudev.
KANIKA 2
Among the tutors of Kanika foremost was Gurudev himself. Apart from him Indira Devi Choudhurani, Dinendranath Tagore, Shailajaranjan Majumder and Shantidev Ghosh also trained her to sing. Kanika received a diploma from Vishwa Bharati in 1943 for classical music, Rabindrasangeet and dancing. Very soon she became the music teacher of Vishwa Bharti and made for herself a permanent place in the Ashram. In the year 1944 she setup her family in this very ashram by marrying the young poet and intellectual Birendra Bandopadhyay, librarian of this university the young poet and intellectual Birendra Bandopadhay , librarian of this university. The couple never left Santiniketan. Gradually Kanika became the professor of music, departmental head and finally the principal of Sangeet. Bhavan. Even after her retirement she remained the Emeritus professor of Rabindra music and dance in Vishwa Bharati Shortly before her death she desired to record a few songs of Tagore on the theme of death and melancholy. Songs like: Dukha rate hey nath, ‘Amar scsh paranir kari’ ctc. This was not possible due to her death. On the 5th of April 2000 she breathed her last casting a dark spell on Bengali sentiment. As the singer lied in everlasting sleep the country mourned her through her songs.
The popularity of her name Kanika given by Tagore found a rival in her pet name Mohor. The love of the students of Sangeet Bhavan for their dear singer teacher ‘Mohordi’ suffused the air of the ashram. She became an institution all by herself. Her career began in 1943 when she had sung for Akashbani.For the next fifteen years she sang extensively in cultural gatherings and also recorded songs. At last in 1961 the year of Tagore’s birth centenary Kanika became a foremost exponent of Rabindra Sangeet According to an admirer she was no ordinary seal but an authentic seal belonging to the era of Akbar.
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KANIKA 3
Towards the end of the 50’s decade a few Bengali singers considered it their duty to populariz Rabindra Sangeet through radio and their records to the next generation. Hemanta, Debabrata, Suchitra, Kanika and Nilima were the crusaders. A few years later Subinay Roy joined them.Kanika evolved her own style and gharana of singing. Sensitivity to lyrics, internalization of words and fusing them with tune, precision of pronunciation established an identity of her school of music. Through radio television and her recorded songs her style of rendition reached far beyond her students who learnt directly from her. Her songs reached England, America Canada where numerous fans and admirers survive on her songs and her characteristic style. Kanika had recorded over 300 songs in her career. These were mostly songs of Tagore and also a few contemporary morden Bengali songs.
Kanika was invited to Bangladesh after its formation at the end of Liberation war. She was also invited to Dartington Hall at Devon shire, England in 1976. The Dartington Hall was established by Lord Elmherst an admirer of Tagore. He was inspired by Sriniketan Kanika brought back Lord Elmherst,s Dartington Hall in Sriniketan. Elmhurst Institute of Community Studies was established with Kanika as the President. In 1991 Indo-Bangladesh Cultural organization - MITALI was set up with which she was deeply attached till her death. Since the days of Bangladesh’s Liberation war this girl from Birbhum district had close associations with Bangladesh freedom fighters. Not only did she encourage them but also stored cartridges for them secretly, with deep emotional attachment.
Kanika had this silent personal style in whatever she did- singing or other pursuits of liking. She characterized her solitary individuality in her search for God, Training and looking after her student, her acts of greatness, Friendship, marital life…. Every sphere was tinged by the grace of her humble personality. Yet she was also very firm, as the Principal of Sangeet Bhavan.
KANIKA 4
The list of awards which Kanika Bandopadhay received in her lifetime is enviable Desikottom, Padmasree Sangeet Natak Academy Awards Shiromoni, Allauddin Award, Rabindra Tatyacharya and Gold Disc felicitations by the government of west Bengal ….the list is unending. But the greatest award was the love, which was given to her by common people. She has made for herself in their hearts by songs like: Ami Rupey tomai volabona’, Rodono vora a bosonto’, Baje karuno surey’ ‘Tobu mone rekho’ She has maddened us by the sheer intensity of hypnotic singing Enabled us to realize and feel life better. We shall never escape from her spell.Kanika has become akin divinity in Bengali mindscape.
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CHRONOLOGY OF DAYS: HER LIFE K
GURUDEV AND KANIKA A
KANIKA THE SINGER N
THOUGHTS ON SONGS OF TAGORE I
REMINISCENCES K
HER WORDS A
WORDS OF REVERED ONES
A LETTER
A COUPLE OF VERSES
SONGS
PICTURE GALLERY
ABOUT MITALI
HER LIFE
12th October 1924: Born in Sonamukhi village, Bankura.
Parents: Satyacharan Mukhopadhay, Anila Devi
Second child among nine siblings
1928: Arrives in Santiniketan
1937: First Public Performance. Singer in Tagore directed
Barshamangal in Chhaya auditorium, Kolkata.
February 1938: First record released. Two morden Bengali songs:
‘Gan nie mor khela and ore oi bondho hold dwar’
Lyrics-Niharendu Sen and music Haripodo Chattopadhay.
September 1938: First record of Tagore songs released.
Direction –Sailijaranjan Majumder
24th September 1940: Bolpur telephone Exchange ceremonial inauguration
Performed at the request of Gurudev.
Song: ‘Ogo tumi Panchadasi’
1941: Passed Matriculation
1943: Diploma in Indian classical music and Rabindrasangeet
From Sangeet Bhavan, Visva Bharati.
1943: Joins Akashbani as an artist.
1945: Married to Shri Birendranath Bandopadhyay, Poet and Librarian,
employed in China Bhavan
1950: Becomes a playback singer. Sings for the first time in Bengali film -
Sujata.
1956: First foreign tour Visits East Pakistan on invitation of
‘Bulbul Academy’
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1961: HMV relcascs ‘Shyama’ on Tagore birth centenary
1961-62: Performs at radio stations in Punjab, Gujarat, Delhi, Madhya Pradesh
as their invited guest artist
May 1972: Visits Bangladesh Meets Sheikh Muijbar Rahaman
December 1972: On behalf of ICCR visits Bangladesh on the Occasion of the country’s Independence.
1973: B.F.J.A. Award
December 1973: 2nd Anniversary of Liberation of Bangladesh. Visits Dhaka.
1974: First visit to America on invitation from ‘Tagore society of New York
Performs extensively in America and England.
1976: Visits England and Europe. Delivers lecture and songs in Dartington.
Hall built by Lord Elmhurst
1977: Steps into ‘Anandadhara’
1978: Tours America on invitation from International Women’s Council.
Visits Canada
1978: Awarded E.M.I Golden Disc
1979: Sangeet Natak Academy Award.
1980: London Tour on invitation from TagoreSociety.
1983: Establishment of social service organization ‘Elmhurst institute of
Community Studies’
1986: PADMASREE Award
1986: England tour, invited by Tagoreans.
1987: Death of husband Shri Birendranath Bandopadhyay.
1991: Tagore Research institute felicitates her ‘Rabindra Tattacarya’ degree
1991: Mohor: A Docmcntary by Gautam Ghosh.
1994: Bangladesh visit being invited by the Government. Participates in
Cultural programmes
1997: Awarded ‘Desikottam’ by Vishwa Bharati
7th March 2000: Admitted in S.S.K.M hospital.
5th April, 2000: 6.20 a.m. Breathes her last.
Kanika 9
Gurudev and Kanika
They met one stormy evening when the little girl was out to collect mangoes.Gurudev met her on the portals of ‘Shyamali’. On request from the old Ashramic with long white beard and large eyes this child fearlessly sang a hindi geet in rang Behag. During their introduction he found that she was ashramite Satyacharan,s daughter. He requested her to come and sing for him regularly.But he did not like her name Anima given to her by parents. He rechistened her ‘Kanika’. The girl started her walk of life being blessed by the name given by Gurudev.
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Kanika 10
In the year 1940 Gurudev himself and had inaugurated the Bolpur Telephone Exchange. He had recited on this occasion, which was broadcast by the radio. For this special day he had composed a song for his fifteen year old disciple, Kanika, Ogo tumi panchadasi” which she sang.
Kanika 11
A Couple Of Verse
To Kanika
Banophool
In The stream where you sail your boat sail
It time and again,
Beside that stream.
I create cities with my words.
Does music float by this stream
To the domain of eternal music
O whom shall I ask!
TO MOHOR
Suchitra Mitra
Kanika 12
REMINISCENCES
Ashram daughter Kanika Amita Sen
The Person: Kanika Bithika Mukhopadhyay
Kanika: My elder artist Maya Sen
My Music Guru Gora Sarbadhikari
The social worker Naba Kumar Mukhopadhaya
Kanika in Bangladesh Rezwana Chowdhury Banya
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Kanicka 13
RABINDRA SANGEET:
Anando dhara bohiche bhuvane
Ami rupey tomai volabona
Ogo tumi panchadasi
Aj jyotsna rate sobai gache boney
Dubi amritopathere
Bimalo anande jago
Tomar ei madhuri chhapiey akash
OTHER SONGS
gan nie mor khela: Adhunik
Kalindi pulin boney: Kirtan
Ogo mithur dorodi: Atulprasadi
Keu bholena keu bhole: Nazrulgeeti
Kanika the Singer
After Rama Majumdar and Amita sen, Kanika Bandopadhyay was the third Ashram daughter who continued the tradition of bearing song of Tagore throughout their lives and handing it over to the generation. She could easily forsake the portals of Santiniketan in search of greater fame in life. But she did not leave Gurudev’s Ashram under any pretext, and thereby creating a legacy of unfailing devotion. She carried a divine voice. Like all the successful singers of Santiniketan her voice too had its distinctive quality. A teacher becomes a sadguru if he is able to create successful disciples Kanika was such guru. She had internalized Tagore’s songs into her soul and thereby evolved her own style. As we listen to her songs we find not only the persona of Tagore but also the singer, Kanika we designate that singer as our favourite who can touch our heart. Kanika as a singer reinterpreted the songs of Tagore. Many songs of Tagore are symbolic where there is a deeper meaning beyond the apparent image.In her disc Kanika sang the song, ‘Aj jyotsna ratey sobai gache boney’ in raga Behag this song is set in Kalyan thata which is sung in the third prahar of night. If we read this song intently we find that it is neither a song of joy or spring nor of going to the forest.
When everybody is immersed in transient external pleasures of life this songs calls for an awakening of the inner soul. In zen philosophy it is said, ‘he is ever awake, whose soul is purified from all evil. Who like this sanctum of his house keeps the soul forever pure in him god shall appear at any moment and for that moment of appearance he is always awake. This song virtues this philosophy. This song is compiled in Gita Bitan the tune is developed in Swara Bitan. This singer unites both the words and tune to create the totality of feelings Tagore had intended Listen to ‘Aj jyotsna ratey sobai gache boney’ repeatedly. You shall realize how the words and tune unite into an awakening in her voice. The reason for her popularity was her ability to merge with the song. She touched the soul of her listeners with her songs.
She had fallen in love with singing songs of Tagore, in love with the art of singing itself. She did not hesitate to teach the young and old for she simply loved it. With the same earnestness she taught junior students of Patha Bhavan as the senior researchers she did not possess any pride of a professional singer. Yet she possessed an admirable self-esteem which was innocent like the child’s yet very sentimental. She lent her voice in-group songs during Barsha Mangal at Santiniketan she also sang duets or solo. Like Rama Majumdar and Amita Sen Khuku she rarely sang in concerts outside santiniketan. She had no craving for fame.
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Kanika does not remain with us through her songs only. Every research conducted on Tagore is dependent on the works she had conducted jointly with her husband Sri Birendranath Chattopadhay. Her husband was a poet bookworm as well as an extremely sociable man. Their family was a harmonious unity of a poet and a singer. Generally singer do not prefer research on music, rather they only love to sing. But Kanika loved to do both. From Amala Das to Kanika Bandopadhay the students who had learnt singing from Tagore himself depict a peculiar quality. We feel the evolution of music in the last fifty years by listening to their discs. The evolving technique that is witnessed in the later days was definitely led by Kanika. It is not enough saying that she had been received by her listeners. Her listeners were blessed by her sons. We perceive both composer and the singer. Certain songs are identified with particular singers. In her case songs evoke her memory in joy and sadness both in this age of objectivity and instrumentation her distinctive features become more clear.Dinendranath who bore and taught songs of Tagore was Kanika’s teacher. He had inspired Rama Majumdar Amita sen Khuku and Kanika Bandopadhyay to devote themselves to singing. Rama Majumdar and Amita sen Khuku have left a few discs. We are grateful to you Kanika.
Thought on Songs of Tagore
With the increasing popularity and changing ambicnce of Tagore Songs, there is also a recent trend that shows certain restlessness. One of the reasons might be the incongruity of notation books. We often hear veteran Tagore recitalists saying that the modern singers render their songs in a way different from their times. They even declare singers render their songs in a way different from their times. They even declare the older day rendition to be superior to these times. Though such views are restrictive, yet not totally without a base many of these yesteryear singers had direct contact with Tagore.Again it is not correct to ignore contemporary singers who learnt from Tagore. The young singer today is confused by the gayaki of various exponents. If we explore deeply it becomes evident that there is no reason for confusion. But one hardly has the time or patience to satisfy his query. Everything depends on how seriously we accept music .Anybody interested in Tagore must know that he composed a song and taught it immediately to some ardent receiver lest he forgert his composed songs to Dinendra Nath before he forgot it. Later he would make minor changes. He never entirely rejected the tunes he set. Thus two singers would sing in slightly different tunes to suit seasonal festivals or as the need arose to sing duets or solos.
To suit various plays he brought innovation in tunes also. The need for preserving those tunes in notation books arose much later. The publishers should be more careful in incorporating all possible variations of a particular song to avoid confusion. The swarolopi samity of vishwa Bharati have left many gaps in their effort to publish a standardized notation book. They should have mentioned all the diverging tunes of a song to avoid confusion.
Modern singers are also confused about the ‘taan’ and ‘bistaar’. Among the foremost singers few have adopted the thumri style. They reason that the purity of tunes is maintained thus. Thus. They establish their view by the example of Tagore’s time when songs were rendered with tans. These situations arose due to the gathering of many ustaads in Thakurbari who loved expcrimcnting with tunes.Tagore songs of the Brahma Sangeet order which belonged to the early days of his composition are primarily based on semi classical ‘raag pradhan’ syle in these songs though expansive play of tune is important yet words are also not so insignificant as to be totally ignored neither can these songs be classed as typical classical songs.
Though these songs possess a thumri style, yet it is not justified to classify these songs as an entirely separate group. It is particularly superfluous to impose the dhrupadi style in case of Rabindra Sangeet. The finesse of Tagore songs lie not in their tunes but in their appeal to a total musical sense. Tagore never thought of himself as a Tansen or a jadubhatta. He was a composer who created music. Hence a singer who experiments with the external structure of tagor songs misses out its musicality. Songs of Tagore influene our internal life. They affect the soul. It is therefore irrelevant to innovate excessively with its tune.
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A lot of musicians today suggest orchestration of Tagotre songs to make it trendy. It is in this aspect that instrumental music becomes important in filling word gaps. Thogh the words suggest themselves even in the gaps yet it is not unwise to express them through music. Another area of innovative experimentation is the chorus song. Harmony has been created in a few songs such as ‘Amit chini go chini tomare ogo bideshimi’. ‘Ananda loke mangala loke’, ‘Tomari gehe pahcho snehe’ etc. Exprimennts can also be conducted by making various singers render particular portions of the same song such as A sudhu alosh maya tomar holo suru amar holo sara’ Oi jhankare Vishwa bina robey vishwajon mohiche’ Oi ase oi oti vairobo horoshe’ etc.
Ashram Daughter Kanika: by Amit Sen
Mohor had the soul of a flower. Without a flowery soul how could she render such beautiful songs. Her heart was bereft of all impurity. Mohor was simple yet intelligent. She was an ideal daughter of the Ashram.
We stayed at Gurupalli in our childhood. Mohor also grew up there with her parents. There were eleven house in Gurupaili then. Mud houses with thatched ceilings made of straw. Nandalal Bose lived in the first house. Jagadananda Roy lived in the second. Mohor’s father Satyacharan Mukhopadhyay lived in the third house. The rest of the dwellers were Prabhat Mukhopadhyay, Pramadaranjan Ghosh, Haricharan Bandopadhay, my father Kshiti Mohon Sen, Nepal Chandra Ray, Gosainji, Ajit Chakraborty and Nishikanto Choudhury.
Mohor came in contact with Gurudev in her childhood. She was oa favourite of Gurudev. He called her to teach songs himself. Quite often I saw mohor runninf across the field to his house to learn a song, the her dress not properly buttoned.
Mohor grew up like the rest the girls. She was no different from us. She did whatever we as Ashramite did. Like the rest she also did household work. But her mother loved and cared for her a little more than the rest. She provided mohor with extra milk and fruit. We all discussed this favouritism, which she justified well. Mohor was called by Gurudev himself to learn songs, so she received special treatment from her mother.
Like all of us Mohor too got up early on the morning. She joined the morning chorus like the rest. School began after the morning bell. In the Afternoon we rested in our housees. In the evenings we played together in the fields. Towards the latr years of childhood she played basketball with us.
Mohor had a fabulous singing voce right from her childhood. In her innermost core there was a source of music. Her voice was god gifted. This was discovered by Gurudev himself. She did not receive formal training as such. It was the custom in Santiniketan to train both in classical music as well as learn Rabindra sangeet. Mohor Sang freely throughout the day as her heart desired.
Mohor loved to dress herself up. She was beautiful too. She came to our house all dressed up only to pluck a flower from our garden and adorn her head. At times she asked me which dress suited her most.
Mohor was a special daughter of Ashram. None other had recordd songs at such tender age like hers. When she recorded her first song we lived on Delhi. We were overjoyed to her that our Ashram daughter had recorded a song.
She loved me so much that she shared all her heart’s content with me. She told me things, which she would never tell others.
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The Person: Kanika by: Bithika Mukhopadhay
I Feel proud to say that the famous exponcnt of Tagore songs, Kanika Bandopadhay, Who has become a legend by herself was sister.
I remember her marriage vividly, though Was only three or four years then.After her marriage she started living with my brother-in-Bandopadhay in a room in China Bhavan.
She had tremendous love for her siblings. My sister and her husband, not our parents were the guardians of our house. Both of them supervised our education and marriage. It was as if she the eldest son of our parents. My sister always shouldered the responsibility of this large family. Even we could not walk without their suggestions.
My sister was inept in household work. My mother cooked food for them. Birenda was her opposite by nature. He managed all the household work for her. My sister was born in West Bengal. Birenda was from East Bengal. They had differing food taste and enacted humorous fight on the ‘ghoti’versus ‘bangal’ issue. Inspite of these differcnces Birenda gave my sister tremendous freedom in life to pursue her career. His contribution in her life is immense.
My sister had three distinctive features in her character.
First was her ability to ender an unknown person. She inherited this quality from my parents. My sister followed this ideal in her life. She could easily take someone unknown close to her heart. Gora Sarbadhikary was one such person. The number of such persons close to her is innumerable.
Secondly, Didi was so soft spoken that she could not utter harsh words to anyone. If she ever spoke harshly she was all eager to make it up. She never expressed hatred for anyone. She never hurt anyone. She helped many penniless people. She distributed clothes to distressed people every year. She also funded the cost of education for many.
The greatest quality of Didi was her enormous faith in people.
Let me eite an example. Once as she was returning from Kolkata, three thieves followed her and entered her house. Birenda saw this and started shouting. The neighbors rushed to their house. Two thieves managed to escape. But the third one was caught and the people started beating him. Didi was coming back from Sangeet Bhavan. The thief fell on her feet and started pleading. Didi, not quite understanding the affair warmly entertained the thief at her house and ordered for a glass of sherbet for the thief.
A year before her death, my son Tanaji went for a trip. Before leaving he said his destination was Chuamsina in Bishnupur. But actually he went someplace else. Upon returning he started narrating tales of his trip to my sister. In his excitement he told her about the rhinoceros he had seen there. My sister was so innocent that she observed in their times there was no rhinoceros in the jungle of Bishnupur. My sister did not know to disbelieve anyone.
My sister had there worlds of existence. Her Family. Work and her music. In all the there spheres she existed with her distinctive personality. Didi had become the Departmental head and later the Principal of Sangeet Bhavan while serving as a professor there. We never realized that a soft person like her could become such a good administrator. We were amazed at her personality. Let me refer to two examples. Once an African student called Baijan created problems in Sangeet Bhavan. He had come to my sister’s house to create ruckus. Didi handled him in such a way that he started singing, ‘Tomari nam bolbo.’ When he reached the line, ‘Sishu jamon makey namer neshay dake’ my sister started weeping. Didi cried, Baijan cried, sodid we.
Another instance deals with a strike. Didi dealt with it very firmly. Didi had once slapped a boy. He proferred the other cheek and asked her to slap on it too.
Didi helped her student a lot. She never disheartened anyone. First she appreciated the effort of singing and the corrected the defects. This way the student felt encouraged. Didi had to face a lot criticism for appreciating all indiscriminately.
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Didi had taken classes in Santiniketan till the last day before being hospitalized. She never neglected her duty. Students from this country and abroad learn singing from her. The student came to her house, ate and stayed too. They became inmates of this house. Rezwana Banya Choudhuri, the famed Rabindrasangeet singer from Bangladesh used to come to our house like this. She became a daughter of our house. This relationship exists eventoday. When Banya comes to India she stays either at Didi’s house or mine. When we go to Bangladesh we put at her place.
So many people visited Didi’s house, poet, artists, musicians, political leaders. For all her hose was open at all times. She received every guest gladly. If some admirer fell on her feet she was moved to tears. Perhaps some ardent fan told her that they could cope with a personal mishap in their lives with the solace of her songs. Didi’s song was everyone’s companion in their grief.
In the last phase of her life Didi devoted herself to social life. She was the Chairperson of Elmhurst institute. She taught the tribal Santhali girls to sing. These students were free to visit her house. She had no rigidity about religion. All religion congregated in her house, Anandadhara. This was the name of my sister’s house. We sit here with her memories. Anandadhara is a place of pilgrimage for us.
Kanika : My Elder Artist by: Maya Sen
I was admirer Of Kanika bandopadhay or Mohordi long before I came to know her. I listened to her voice shrill as the flute from a distance and was amazed by it. I never imagined that in the year 1944 I would meet her face to face in Santiniketan.
During the four year diploma course at Sangeet Bhavan I Was taught by Mohordi during the first two years. She took great care in Teaching us. Never did she speak in a loud voice. She was very affectionate and taught us many songs even beyond the syllabus. She never tired of teaching songs.
All of us friends went to her house in the evenings.She was a different individual then, Just like our elder sister. Her husband law Birendra Nath Bandopadhay (Birenda) was also very found of us. In this way a deep relationship developed with Mohordi.
The special occasions celebrated in Santiniketan such as –Barshamangal, Basantotsabetc were unforgettable due to Mohordi,s songs. There are certain songs like, ‘Bajc karuno surey’ ‘Bedona ki bhasa re’ ‘Bajao re mohon banshi’ ‘Maronore tuhi momo’ ‘Daya diye hobe go more’ ‘Charano rekha tobo’ etc which I shall never forget Till Ilive these songs shall ever murmur close to my ears. Even after coming away from Santiniketan our relationship continued. She was very fond of my husband Tridiv too. My brothers and sister who later went to Santiniketan also developed a relationship with her. Mohordi and Birenda became our family friend.
I had never again had the opportunity to meet such a liberal and large-hearted artist in my life. She herself was not aware the extent to which her voice was musical. Perhaps she was born to sing songs of Tagore.
My Music Guru: by Gora Sarbadhikari
In the Year 1961 I went To Santiniketan as a student. That was the year of Tagore birth centenary. From that day for the next forty years. Till 5th April 2000 when Mohordi breathed her last I was her companion of all times. I was a stranger to their family. Yet due to the love bestowed by Birenda and Mohordi both, I became a part of their family. In moments of love, happiness, sadness, conflict, here and abroad memories abound of our relationship.
Mohordi became my Sangeetguru when I look admission in Sangeet Bhavan. At that that a few of Mohordi,s tutors also taught in Sangeet Bhavan. V. V. Wajelwar, Asesh Bandopadhay, Santidev Ghosh were all music Teachers. The previous year Sailajaranjan Majumdar had retired as the teacher. All the teachers here were very affectionate. All of them possessed extraordinary qualities as a musician yet they were ordinary in their behaviour.
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Mohordi too was like that. But the students always demanded something extra from her. They could vent all their personal problems to her. She listened to their problems with sympathy. Even beyond teaching she had a personal relationship with her student. Sentiments naturally developed in these relationship. Yet she was in a different mood when she taught. She played the tanpura with one hand and held the notation book with the other. She sang a line repeatendly to teach us. But we remaned silent. Her voice was so melodious that none felt like singing after her. One day, during a rehearsal Aseshda teased Mohordi,
‘Mohor what are you singing, we cannot hear your ‘sa’.
Mohordi turned red with anger. Ascshda was playing the cshraj. He explained to us that Mohordi’s voice perfectly merged with the chords of the instrument and hence it was as if the eshraj had stopped playing and only the voice continued to sing. He exclaimed, ‘Look this is called melody.’
Another quality which Mohordi possessed as a sangeetguru was her ability to encourage. That helped her students a lot. It strengthened their nerves. She never discouraged anyone. Rather asked them to put more effort so that they would become great singer some day. Affection love and inspiration were the there things, which she bestowed relentlessly. Many of the girls have th experience of cooking at her house and eating with her student.
Whatever it is, during my long experience with her as her student and listener I would like to enumerate the qualitics that have made her a legend.
Firstly, she possessed a god-gifted voice from her childhood she practiced classical music, learnt to deliver words correctly and relized the inner soul of Rabindra Sangeet. Let us consider her pronunciation. In delivering the word ‘hawa’ or ‘hai’ she creates the sense of breeze or the pathos respectively. This is very essential to give a complete beauty to the songs of Tagore and hits the listener at the core of his heart.
Then there is her power to connect the tune.
The Social Servant: by Nabakumar Mukhopadhyay
I came to study in Patha Bhavan in 1937. I always kept in touch with her after coming to Santiniketan. She was my senior by seven years. Mohordi was in class eight at the time I was
Admitted to Patha Bhavan. At Times I saw that on Wednesdays Mohordi with a few friend of hers went to the nearby villages with books and pencils. I asked her one-day where she went. She told me that she visited the poor village children who did not have the facility of education. I told her that I would like to accompany them sometime. They took me gladly. These villages reminded me of my villages. I saw that little children had gathered below the tree and Mohordi taught them. She even dance with the santhal girls in tune with their music. She told me later that the simplicity and cordiality of these people impressed her greatly.
Mohordi could never forget these trips to the villages and earnestly wanted to do something for those people when she grew up
Let me cite an example when she was fifteen years of age. Mohordi writes:
I was a child when Elmhurst stayed at Santiniketan. But the lecture he had delivered in 1939 had a tremendous impact on me. It had given me a new insight. I had received an inspiration to know the poor villagers around this place and do something for their upliftment bas a grown up. I remember going to those villages from Patha Bhavan.
She writes elsewhere:
‘I had the opportunity to be present an international Seminar arranged in 1976 at Darlington Hall. Lord Elmhurst and his wife Dorothy Elmhurst had established Dartington Hallin England, modeled on Santiniketan and Sriniketan. The theme of the seminar was to discuss the relevance of the works and thoughts of Tagore in the context of the modern world.
(12)
The atmosphere of Dartington Hall made me feel as if I was on an Pilgrimage. I also had a feeling that the work of Sriniketan should be furthered. When after returning from England I heard that Nabakumar Mukhopadhay, Professor of Sriniketan who was associated with Elmhurst’s organization had opened a voluntary organization, I Joined him. The organization was named Elmhurst Institute of Community Studies.
Under the able guidance of its honorary Secretary, Naba Kumar Mukhopadhyay, the Elmhurst Institute of Community Studies. Became a voluntary organization of repute.
Mohordi became the Chairperson of this voluntary organization. Of the 25 schemes that we ran the foremost were schemes for destitute women day boarding facility for the aged, child development project, women’s self help scheme, dead diction scheme increasing awareness of AIDS among sex-workers etc. Under the inspiration and active help of Mohordi this organization started working in Birbhum. I was associated with this work for 33 years. Association of Elmhurst helped me to do this work. I was also immensely helped by the practical wisdom of Mohordi which I witnessed for long 17 years.The women who lived in Destitute Women’s. Home were closest to her. When she chatted with them she did not meet any guests however important. She herself taught the Sanuthali girls to sing. Not only did she help the needy students with their education but also donated clothes. She had great regard for rural culture. I had seen for myself what regard these tribal people had for her. When her dead body was brought to Santiniketan the Santhali girls wished her goodbye with flowers. Even in the burning ghat hundreds of villagers had gathered to bid her farewell.
This humanitarian aspect of the legendary singer is not much highlighted. In a similar manner the Tagore’s thoughts on rural upliftment had for a long time been obscure from us.
Kanika in Bangladesh: by Rezwana Chowdhury Bannya
Mohordi had last visited Bangladesh in the year 1994. She was invited by the Government. Around the same time another small group of singers had come on invitation from SurerDhara. This group joined Mohordi towards the last phase of her trip and together they presented Shyama and Chaturanga in Dhaka. At the time she was about to visit Bangladesh, there was an outbreak of plague in India. She was kept waiting at Kolkata for days. At last getting impatient she said, ‘I shall not go to all if it’s not within the next two days.’ Her route was changed. She came by car till the Benapol border. She would take the fight from Jessore. We were so excited the evening she reached our country. Government officials, we hr students had been to the airport to receive her. She alighted from the aircraft with a serene smile. After the exchange of greeting the first thing she said was,
I had a strange experience today. I had a queer feeling as I was crossing the border. The same soil, the same people, the same language. Yet we seem to be so far, two different nation. When I was crossing the midportion the hands from the other side of the border released my hold. A host of hands clasped mine from this side of the border. I looked at them to find a lot of unknown young faces. The reassured me. ‘Didi do not worry. We shall safely reach you Dhaka. True to their words they took such great car of me.
On that trip she repeated this incident to many people. Her heart was full of sympathy for these strangers.
A long time back in 1956 she had come to Dhaka for the first time with a troupe from Santiniketan. During that visit too they had performed Shyama. Many years later when she told me this incident it had not been tarnished by the passage of time. During that visit, as she rested on the first afternoon, perhaps she was dozing a little. Suddenly she felt as if someone was caressing her feet. At first she thought it was a dream. Then she realized that it was real.
(13)
Her Words:
From my childhood the atmosphere of Santiniketan and the ethos of Rabindra Sangeet ovenpowered my consciousness, I do not know why I sing what I sing, what I get or what I give. I only know that my soul fills up with surrender. My songs are my offerings, and singing my self-surrender.
Truant Rabindranath had understood that the heart, soul and intellect should together make way for the storehouse of knowledge for the child. They should also be set free in the nature. He has created such an education system here. Hence, I believe, that children growing up amongst nature, clutching on to Tagore’s creations shall achieve fullness in their lives. A lot of singers reproduce songs ofTagore according to their own desire. If the little children learn these songs then they would not learn songs of Tagore. Few people have regional dialect in their Pronunciation. There are a lot of things like these. I request that the teachers take care of these details.
Right from my birth I have stayed at Santiniketan. I have been trained to sing by Gurudev himself and Dinendranath from my childhood. The ustaads who came to Santiniketan taught me classical music. My revered teacher Sailajaranjan Mujumdar took the responsibility to mould and prepare me for the world. I have learnt music from Sri Santidev Ghosh and Smt Indra Devi Chaudhurani too. I have realized the influence of surrounding atmosphere as I grew up in such an ambience. I realized too that to find a niche in the world of music one required favourable environment. Such atmosphere helps in the fullest development of the mind too. When the ustaads take in someone as a disciple they soak him in the environment of music. Even For Rabindra Sangeet that engrossment is required. The first step to education is hard meditation and effort.My education is yet incomplete. I express my heart felt reverence for those who have taught to be an ever learner in the world of music.
I do not consider Bangladesh to be any different. I went to Bangladesh many times after its independence. A lot of student from Santiniketan live there. They respect Bengali language, love it, so they can sing ongs of Tagore with their hearts. Rezwana Banya is a daughter; love it, so they can sing songs of Tangore with their hearts. Rezwana Banya is a daughter of my house, there are others too. They come from far to learn music; they are not ready to release me. I belive there is no distinction between the Hindu and the Muslim. I have also witnessede the enormous effort of Mujibar Rahaman
Pain will remain in one’s heart in life is concealed the power tyo overcome pain, the mantra to bear it. The sacred mantras of my life are the songs of Rabindranath.
I am reminded of a debate concerning ‘Anandodhara bohiche bhubhane.’ These debates do not hurt me any longer. I believed in singing as the Guru taught, not as per the notation Gurudev himself taught me to sing, I have also had Bibididi , Dinuda, Sailadada, Santida as my teachers. I learnt by sitting near their feet.
In this life I have received quite a few prizes and awards. But even those are belittled in comparison to the love bestowed by my listeners. I have received handful love. Never lost it. They are stored in the innermost chambers of my soul.
Words of Revered Ones:
From her very childhood Mohor lived in Santiniketan with her Family. So it was never difficult for her to realize and perceive either the ideal of this place or the notion of music. Mohor grew up naturally like a plant soaking nourishment and breath from the favourable environment around her. She could distribute it in the form of joy later in life.
(14)
Words of Revered Ones:
She has never been Kanika for me. She is my daughter Mohor. Mohor was twelve or thirteen then. I have never seen someone sing a solo song at such a tender age in the various festivals at Santiniketan. She sat beside me and listened intently during the festivals when she was called she went up and rendered the song. Mohor had a god gifted festivals. When she was called she went up and rendered the song. Mohor had a god gifted festivals. When she was called she went up rendered the song. Mohor had a god gifted voice.
To a lot of people today Rabindra Sangeet has become a means of earning money. But that was never the case with Mohor. Mohor has made songs of Rabindranath a sorce of deep joy and companion of life.
Sailajaranjan Majumdar
When Kanika Bandopadhay came to me I travalled to Santinketan regularly. I observed all the qualities of a singer in her. She had an intense fervour to learn. Towards the end of 50’s decade she often sought my advice on songs of different types, bhajans and geets. For about a couple of years I had trained her to sing bhajans. Her style of singing is different from the rest of the singers. Hence everyone remembers this distinctive singer. Among the singers who have tried to popularize Tagore in this country and abroad Kanika Bandopadhay is a foremost name.
Gyan Prakash Ghosh
Mohor shall live amongst us forever through her songs. Particularly the Bengali community shall remember her till the time Bengali language is and spoken and Bengali music song it shall not be possible to forget her.
Santidev Ghosh
A LETTER:
Dear Respected Kanikadevi,
In that unforgettable moprning you sat beside my bedside and sanf for Thjis sick man. You were unwell too, yet you sang. Henceforth whenever I hear you singing over the radio or on a disc I can very well visualize you. The joy of listening is doubled in the process.
From my child hood I am fond of a poem by Wordsworth:
Three years she grew in sun and shower.
Then nature said a lovelier flower. Etc.
I am deeply influenced by a line towards the end,
And beauty bore of murmuring sound.
I would like to steal from this line a feeling, and say
And beauty born of her own songs (so perfectly sung)
Passed into her face.
(15)
I wish you all my heart that you live for many more years. You bless this unfortunate country with your melodious voice, give it joy and health, I am particularly moved when I think of Tagore’s greatest creation,Shyama, who could have enlivened the finer dilemama of woman hood in her voice but for you. Tagore has entrusted this wretched lady with a tragic appeal. We needed an interpreter between her and the creator. You are that deserving interpretor. Inspite of receiving a lot from you we demand more. Not for me personally but as a generation
Abu Sayed Ayub
01-09-1975
ABOUT MITALI:
Singer Kanika Bandopadhay, our Mohordi was a foremost member of the indo-Bangladesh cultural forum callerd ‘MITALI’ she was behind its conception India and Bangladesh are two politically divided landmass, yet they are united in their history, geography, culture, day –to- day life style revolving around Ganga and Padma. In this work we required a few like-minded people and an organization for them to be united. Under the dual persona of Smt Kanika Bandopadhay as an artist and human being, Mitali grew up gradually. For this reason she is the mother of Mitali and her bosom Friend.
For over half a century our life is directed by the songs she sang. She is not only an artist. But a humble, emotional soul who has faced all the hardships of life with clean and sang of the ultimate joy of life.
For a large span of time Mohordi has sung with her melodious voice. She lives amongst us through
Her songs, her desires and unfinished works. Along with her loving indulgence, her blessing should give a direction to our work. To express our heartfelt gratitude to her memory we have undertaken this project.
A lot of people have extended their helping hand. Gora Sarbadhikari, Bithika Mukhopadhay, professor Naba Kumar Mukhopadhay and Priyam Mukhopadhay have helped us with information and photographs Gautam Ghosh (Nukai) of Santiniketan has permitted us to use pictures taken by him. We have used pictures by Somnah Ghosh. We shall also remmber the service of Swapan Kumar Ghosh. The book ‘Mohor’ published by Sutanati Patakatha, and ‘ Kanika’ by Srishti Publication have helped us. The two editors Sumita Samanta and Anish Ghosh assisted us. ‘Ananda Dhara’ published by Aajkal also provided us with unknown information. Writer Alok Prasad Chattopadhay granted us permission to use his writings. Producer Amol Ghosh handed over the documentary ‘Mohor’ to us. We shall also express our thanks to Kamalesh Sengupta, Dipak Ray, Rupa Sengupta, Diptaman roy Mitali (Papri) Roy Foroque Hayder, Aniruddha Sadhukhan, Gauranga Mondal, Amit Ghosh, Siddharha Sadhukhan and Tapas Roy. H.M.V. Sa Re Ga Ma to use their website and songs of Kanika Bandopadhyay.
I express my gratitude and thanks to all these people
I also acknowledge the permission granted to me by H.M.V. Sa Re Ga Ma to use their website and songs of Kanika Bandopadhay.
T.K. Sengupta
Secretary
Mitali
